Friday, July 24, 2015

Fadjar Sidik: responding to changing times creatively, conceptually and philosophically

Fadjar Sidik: responding to
changing times creatively, conceptually and philosophically

by Amir Sidharta

(an article from the year 2000, published in the Jakarta Post)

The works of the painter Fadjar Sidik in the 1950s, such as
Portrait of Mrs. Abas Alibasjah and Portait of Wim Nirahua, are figurative
compositions which depicts the nuances of the time. They are very different
from the works he did since 1961 until today. Currently, his Dinamika Keruangan (“Dynamics of Space”)
consists of geometric shapes that are formed in a harmonic and interesting
composition of forms and colors. They do not always represent any atmosphere or
life-nuances of a certain period.

It was obvious,
that in 1961, there was significant change in the works of Fadjar Sidik, which
is related to his experiences while he was in Bali for four years, 1957 - 1961.
The painter calls it "the dichotomy between nature and technology."
During the early years of his stay in Bali, he lived in Tanjung Bungkok,
Denpasar, on the old road to Sanur. Not long thereafter, the main road, which
was a dirt road, was up-graded, given a layer of asphalt. Later, Pertamina
built an installation there.

At that time,
Bali was going through several rapid changes. Electricity has caused the
raising of electric-poles along the main roads. Temples, which were
traditionally lit by kerosene lanterns or torches, became equipped with
florescent lights. Balinese traditional houses started to change into
office/shop houses.

Since he felt
disturbed by the changes, Fadjar Sidik moved to Ubud. However, even before two
years passed, Ubud underwent change as well. A movie theater was built in the
center of the town. "Blue jeans and rock & roll music came to
Ubud," he said. Those who experienced the boom of tourism, bought cars.
The Barong dance, usually performed for religion rituals, became performed only
when there were tourists.

Facing the
changes, first Fadjar Sidik admitted that he could not stand it and felt
annoyed. "I felt really annoyed, because all my favorite subjects which
usually appear in my paintings, could no longer be placed in one harmonic unification
its environment, then. It was difficult to compromised nature with
technology," he said. It was true, the traditional Balinese markets with
their thatch umbrella-rooftops were more unique and interesting to paint
compared to the new markets built according to the governmental
decree/instructions. Things like these those bothered the painter.

Actually,
painter could have easily ignored the products of technology, and could only
portray the natural and cultural elements that were not or have not been
'poluted' by the progress of the technology on his canvases. However, Fadjar
Sidik refused to respond to the changes of Bali as romantically as that. He saw
that the progress of technology and development could not be put aside, because
it was “a necessary evil” to the era. The challenge was to harmonize the
products of technology and development in harmony with the nature and
traditional culture. It has to be set into his works. First, Fadjar Sidik
responded with explosive expressions. He admitted to have “gotten mad” trying
to find forms, rhythms and everything. It is evident in his painting, Campuhan, which no longer showed
figurative forms, but has become more expressive and dynamic. The colors he
used were not always related to the true colors of the nature he tries to
depict, but rather are colors that express his emotions. Also, although still forming
figures and shapes, his brush strokes are very spontaneous, thus more
expressive. Those paintings surely were the transition from the Fadjar Sidik’s old
style to his new one.

Disappointed
with the progress of Bali, he returned back to Yogyakarta and accepted the
offer from Abas Alibasjah, who at that time has became the division head at
Akademi Seni Rupa Indonesia (The Indonesian Academy of Fine Art) to became a
lecturer, which he continued until now. Before he returned back to Yogyakarta,
Fadjar Sidik formulated some interpretation of Balinese ornaments and art forms,
which he changed into abstraction of the more simple geometric forms. However,
he refused to be called as an abstract painter. He preferred to be called
designer. "A designer usually designs practical things, whereas the
designs I make are meant to be emotional and aesthetic," he explained. The
forms he created were not meant as a representation of natural forms. According
to the painter, even if recognizable forms appeared, looking like mountains,
fields or moon, it was only the viewer’s association. His works are named
Dinamika Keruangan (“Dynamics of Space”) because they were focused on the
negative space of the canvas, not on the positive elements that form the
subject. "On every painting there is always negative space, and it is the
dynamics of the negative space which is meant by the dynamics of space,"
he said. The negative space to which he refers, is the space between the
elements within his paintings.

His “Dynamics of
Space” paintings are filled with musical rhythm, because of the repetition of
forms and the use of vibrant colours, which is reminiscent of the works of Paul
Klee. However, the rhythm and music were in fact not his main attention.
"Rhythm and composition should appear in any work, and should not be
something that is applied purposefully," he said.

His titles, which
in the beginning were called “Dynamics of Space”, later changed. There were
such titles as "Metropole", "Mandala", and so forth. His
works also went through several changes, although not drastically. His latest
works are painted with diagonal brush strokes, which adds rhythm to his
paintings. Yet most importantly, he still held his prime principles of the “Dynamics
of Space". To solve the dichotomy between nature and technology, Fadjar
Sidik did not become a romantic; on the contrary, he took the creative steps,
even conceptually and philosophically. Through his works, he tried to find a solution
responding to the dichotomy. If nature, culture and technology were the
positive elements, then the negative space became its solution.

Even though he
realized that the changes in Bali has made him change his style, more or less
being affected by tourism, Fadjar Sidik kept an open mind. He even declared,
"Lucky we have tourists!" According to him, tourism has helped Bali
solved its dichotomy of nature, culture and technology. He said that it was
certainly due to the guidance of the foreigners who lived long enough in Bali
that kept Bali hold firmly its cultural and artistic values, and still able to
accommodate the demands of modern life. He cited the development of hotels like
the Bali Hyatt, and Kayu Aya, that he
has seen in the past. He also admitted, that the influences of foreigner artists
such as Walter Spies and Arie Smit helped the progress of Balinese arts but at
the same time also conserved the traditional Balinese cultural values along the
way.

It is clear that
Fadjar Sidik is a true modernist, who holds tight to his principles until
today. This is not to be questioned or put in doubt. However, there is still
one question to be asked. If he had lived in Bali when the dichotomy of nature,
culture and technology has been solved, what would have happened to his art? An
exhibition of Fadjar Sidik’s works is on show at One Gallery, Jl. Panjang, West
Jakarta, from 9 - … September 2000.